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About the Art – Shauna Richardson

Crochetdermy® is a technique that you have created yourself. Can you tell us about the development process behind Crochetdermy® - how you came up with it and what it entails?

Crochetdermy® pieces are realistic life-size animals created using a freestyle crochet technique which I began to develop in 2007 when crochet was an endangered craft in this country. 

I came up with the name Crochetdermy® both to better describe what I do and as a way of holding people’s interest. Pre coming up with the name I found that people would drift off when I introduced myself as someone who crocheted animals.

Crochetdermy® is a combination of all sorts of things, I guess it’s a mash-up of me and my life.

There are childhood pastimes such as museum visits and making things, and the adult interest in art theory, particularly in what constitutes art and perhaps more interestingly, what does not. Constant throughout there is rebellion, humour and pure devilment.

I enjoy interventions and playing with preconceptions. The first piece of Crochetdermy® I created was a 7ft brown bear which I entered into the Burnham Market Flower and Produce show in the ‘One Crochet item’ category. The memory still makes me laugh.

What inspired you to create this exhibition?

This exhibition,EVOLUTION of The Artist and The Exhibited Works, was an opportunity to display not only a selection of Crochetdermy® pieces  which demonstrate surface skills, but also with the graphs and charts - a little of what makes me tick. If there was one piece in the Horniman collection that I could cite as a source of inspiration it would be the Mendelism mice.

The exhibition includes bears, lionesses, boars, and monkeys, what drew you to these animals?

The trophies form an intervention within the existing museum display, there is something intriguing about the juxtaposition. The baboon skin is a new piece created specifically for this exhibition. Although an empty skin, the baboon reveals something of the evolution of the works,  demonstrating technique and the creation process.

How long does a piece take to make? Do you use live examples or taxidermy to help you create your work (or both)?

I have made some very large pieces. The biggest - The Lionheart Project was made up of three 25ft lions, this took 18 months to create. More typically something like the baboon skin would take 6-8 weeks.

I use all sorts of sources for anatomy reference but by far the most referred to and most useful is my (live) Jack Russell - The Bean. 

Are there any other mediums that intrigue you? 

Everything intrigues me. I annoy friends, family, and not least myself with wanting to have a go at everything. One lifetime will certainly not be enough.

What impact have Natural History museums and galleries like the Horniman’s had on you and your work?

The impact that Natural History Museums have had on my work I think is plain to see. This side of my character is a bluff old traditionalist, revelling in historic hushed woody rooms full of glass cases. 

 

How do you hope people will react to your pieces? What would you like them to think about?

My job is to make and display the pieces, people will react individually and on their own terms. Within the show there is a comment upon the status of creativity within mainstream education, it is a small gesture but secretly I would be thrilled if this were to be noticed. 

What is next for you? Please let us know if you have any other shows or works coming up.

A large bear is about to be unveiled at the opening of a new MOXY hotel in Downtown New York. Also America bound is a metallic gold wolf skin which is to be exhibited in Excellence in Fibres! at the San Jose Museum until January 2019. Private commissions tend to keep me busy.

Celebrating the arts

Disguise. Layers. Extraordinary and ordinary. Natural and man made. These are just some of the themes that art students come to explore at the Horniman.

  • Drawings by Artsmark students, Drawings by Artsmark students
    Drawings by Artsmark students

Artsmark celebration week ran from 8 – 12 October and is a national celebration of arts and culture. Artsmark is the creative quality standard for schools, accredited by Arts Council England. Artsmark provides a framework for teachers to plan, develop and evaluate arts, culture and creativity across the curriculum.

The Horniman is an Artsmark partner, so we support schools to achieve their Artsmark status and schools can visit us as part of their award.

During Artsmark celebration week, Sacred Heart School from Camberwell brought their year 11 GCSE group to explore the theme of disguise. Luckily we have around 3,000 objects in the handling collection that pupils can touch, photograph and draw to build up their sketchbook as part of their GCSE topic.

  • Drawings by Artsmark students, Drawings by Artsmark students
    Drawings by Artsmark students

We explored camouflage in animals, looking at a zebra skin and stoats that change colour with the time of year. The pupils also looked at textiles, puppets and masks for inspiration for their final piece. As part of their visit, the students also explored the new World Gallery to look for further examples of disguise.

Pupils from Langdon Park Secondary School from Tower Hamlets also visited during this celebration week and their theme was ‘Layers’. Pupils explored clothing, seed pods, gourds and even an armadillo carapace.

We celebrate the arts all year round at the Horniman with handling sessions for schools for art, music, textiles and puppets. Find out more about Artsmark, and Horniman school sessions. Check out more artwork by schools visitors.

  • Drawings by Artsmark students, Drawings by Artsmark students
    Drawings by Artsmark students

Think Pink

Time for perhaps the most divisive of the colours. We take a look at Pink.

How did pink get its name?

We are used to thinking about pink as a colour in its own right, but it is a paler shade of red and as such is the only hue we’re covering in this series.

The word pink was first used related to colour around the 1680s prompted by a type of Dianthus flower known as pinks. These flowers got their name due to their frilly edges, which was known as pynken in Middle English – finishing an edge of cloth with a patterned, cut or scalloped effect, as is done with pinking shears.

  • Dianthus-plumarius - pinks, Pinks or Dianthus-plumarius, Sten CC BY SA 3.0
    Pinks or Dianthus-plumarius, Sten CC BY SA 3.0

In Europe, pink is often referred to as rose relating it closely to another type of flower, and going back to Homer’s “Rosy-fingered dawn” in the Odyssey.

In nature

Pink is very common in nature, mainly in flowers although lots of other species sport the colour. Bright, vibrant colours attract insects and pollinators which are crucial to plants fertilising, or in the case of fruits like raspberries or strawberries, may offer great opportunities for seed dispersal when eaten. Their pigment comes from anthocyanins which are pigments that can appear to be shades of red, purple or blue.

  • Roses in the Horniman Gardens, Roses in the Horniman Gardens, Connie Churcher
    Roses in the Horniman Gardens, Connie Churcher

There are lots of pink animals too. From flamingos to dolphins, pigs to moths. Some animals get their colour from a diet rich in carotenoids, which we looked at in our yellow blog. Other animals, like pigs, have been selectively bred this way or use it as part of their rich plumage like hummingbirds.

  • Elephant hawk moth from our collections, An elephant hawk moth from our collections
    An elephant hawk moth from our collections

There are several pink minerals, including rose quartz, rhodochrosite, and pink topaz. There are rare pink beaches, coloured by years of coral erosion, and pink brick or sandstone buildings can be seen from India to Argentina.

Popular and powerful

According to a study by Eva Heller in 2009, pink is most closely associated with sensitivity, childhood, femininity, sweetness, and romance, in Europe and the US. The association with pink as feminine stems from just before World War I but didn’t become established until the 1940s and the baby boomer generation. Previously, boys were pictured in pink because red was associated with activity and aggression, and pink was a hue of red, deemed to be a stronger colour compared to blue.

Commerce has had a role to play in pink or blue being associated with gender.

In the past, lots of clothes were white, as these could be bleached easily when stained or dirty, and white was (and still is) associated with innocence, particularly in children's clothes. By pushing consumers towards a new colour code for children, shops could sell more products as you would buy different clothes for boys and girls, rather than reusing clothes multiple times across families or generations. Toys aimed at girls featuring pink packaging is also a more recent trend, coming into prominence in the 1980s and 1990s.

  • Gendered toys, An aisle of pink toys, Josh Puetz via CC BY-NC 2.0
    An aisle of pink toys, Josh Puetz via CC BY-NC 2.0

Although is it not uncommon to see men wearing pink, it is still not very popular with men. Only 1% of men would choose it as their favourite and only 7% of women.

In Thailand, pink is associated with the day Tuesday, while in France, a reddish-pink is the colour of medicine in academic dress. In Japan, pink is associated with spring because of the cherry blossoms, but it is also the colour of ‘off-colour’ jokes. In China pink is associated with westernisation, and is considered a foreign colour.

Pink is often used as a symbol of sexuality, particularly in LGBTQIA communities and the original pride flag had a pink stripe to represent sex. Women wore pink pussy hats in the 2017 Women’s March. In Japan, erotic movies are called pink films and recently, Janelle Monáe sang about female sexuality in her song Pynk.

Because of the way the colour has been applied to gender, there is some pink backlash, with campaigns like Pinkstinks opposing the ‘pinkification’ of girlhood. ‘Pink tax’ refers to the higher costs paid by women and girls in products from dry cleaning to bicycle helmets.

Pink in the arts

The phrase ‘in the pink’ means being in good health and dates back to the sixteenth century, meaning to be the very pinnacle of something. It is used by Mercutio in Romeo & Juliet (Act 2, Scene 4):

Nay, I am the very pink of courtesy.

Pink was most commonly used for flesh tones of white people in European art, and features as the colour of male infant dress. It really got trucking in the 18th century with Madame de Pompadour, who made pink and blue fashionable colours at the French court, and the hue Rose Pompadour is named for her.

  • Portrait of Marquise de Pompadour, Portrait of Marquise de Pompadour, Francois Boucher (via Wikimedia)
    Portrait of Marquise de Pompadour, Francois Boucher (via Wikimedia)

In the early twentieth century, Elsa Schiaparelli created shocking pink and used it across her designs, lending the name to her perfume. Marilyn Monroe wore a now iconic pink dress when singing that Diamonds are a Girl’s Best Friend, Mr. Pink rallied against the name in Reservoir Dogs and Mean Girls wore pink on Wednesdays.

From Kay Thompson to The Pink Panther, The Psychedelic Furs to Nicki Minaj, pink pops up in music just as much as film, fashion, and art. Listen to our playlist of pink-influenced songs.


Learn more about colour in our family-friendly exhibition, Colour: The Rainbow Revealed.

The 2018 Artquest research residency

Artquest, in partnership with the Horniman, are offering a research residency for one London based artist to focus on our collections.

  • The Horniman Bandstand, The Horniman Bandstand in our Gardens
    The Horniman Bandstand in our Gardens

The residency includes:

  • An award of £3000 to engage with the work and collections of the museum
  • An additional award of £850 towards a public facing event showcasing the thinking and research undertaken during the residency
  • Privileged access to museum’s music collection objects and curators

For the 2018 residency we are interested in hearing from applicants to engage with any of our collections (Anthropology, Aquarium and Animal Walk, Archive, Butterfly House, Natural History, Gardens or Musical Instruments) and we particularly welcomes applications from artists with a participatory or socially engaged practice.

Please note, that this is not a studio residency and applicants are expected to have their own studio / workspace to complete any work.

Find out if you are eligible for the residency and apply on Artquest by 10am on Monday 13 August 2018.

Saint George, Patron Saint of Ethiopia

We're sure that many of you are familiar with the story of Saint George. As the Patron Saint of England, his legend is one well known across the country.

Even if you aren't familiar with George himself you'll have seen the cross of Saint George everywhere - from flags on government buildings to football strips.

Saint George isn't just the Patron Saint of England though. George's patronage extends to amongst others, Aragon and Catalonia, Georgia (unsurprisingly), Moldova, Palestine, and Ethiopia. In our collections from Ethiopia in particular, Saint George features prominently. So just why has the East African nation taken the Saint to their hearts?

Ethiopia, along with its neighbour Eritrea, is something of an exception in the Horn of Africa, in that it is a nation in which the majority of the population practices Christianity. Christianity in Ethiopia takes the form of the Ethiopian Orthodox Church which traces its roots all the way back to the Apostles. Made the official church of the Kingdom of Axum in the 4th century AD, making it one of the earliest nations to adopt Christianity, it has remained the dominant religion in Ethiopia ever since. In fact, the Kings of Ethiopia claimed descent from the biblical figures of King Solomon and the Queen of Sheba.  

  • Saint George 001, Depictions of Saint George slaying dragons and beasts from horseback are common throughout Christianity, the decision to depict the saint with a darker skin tone, however, is not.
    Depictions of Saint George slaying dragons and beasts from horseback are common throughout Christianity, the decision to depict the saint with a darker skin tone, however, is not.

It is unclear quite how the story of Saint George first came to Ethiopia. Saint George is an important figure in the Middle East particularly in Palestine and Lebanon - it is said he was born in either the Levant or Cappadocia - and may have been introduced to Ethiopia by contact with other Oriental Orthodox churches such as the Coptic Church of Egypt. 

  • 465px-Bete_Giyorgis_03, The Biete Giyorgis is dedicated to Saint George and is considered the greatest example of the rock-hewn churches at Lalibela.
    The Biete Giyorgis is dedicated to Saint George and is considered the greatest example of the rock-hewn churches at Lalibela.

One thing that's very clear though is how important George is in the East African state. In the town of Lalibela, an important pilgrimage site for Ethiopian Christians, eleven churches were hewn from rock between the 7th century AD and the 13th century AD. This monumental task means that the churches are found in subterranean trenches with the earth around them excavated to create the form of magnificent church structures. The best preserved and best-executed church in Lalibela is the Biete Giyorgis, the Church of Saint George. Allegedly, this church was sculpted under the orders of Gebre Mesqel Lalibela - after whom the town is named - in the 13th century AD after Saint George visited him in a vision instructing him to do so. 

Addis Ababa's cathedral is dedicated to Saint George, as is the city's leading football team. There's even a beer named after Saint George.

Saint George is a popular figure in Ethiopian iconography often appearing on horseback driving his lance or spear into the dragon he so famously slew. Just as George's role as a warrior saint made him a popular figure amongst knights and crusaders of Europe, his association with war and battle is prominent when examining our collection of depictions of George in Ethiopian art. The two paintings featured below depict Saint George at the heart of one of Ethiopia's most important historical moments, the Battle of Adwa.

  • Battle of Adwa 01, Depictions of the Battle of Adwa are in ample supply thanks to the significance of the battle in Ethiopian history. In this painting, Saint George provides Ethiopian forces with divine inspiration from the heavens.
    Depictions of the Battle of Adwa are in ample supply thanks to the significance of the battle in Ethiopian history. In this painting, Saint George provides Ethiopian forces with divine inspiration from the heavens.

At the end of the 19th century, Africa had been carved up by the European powers at the Berlin Conference of 1884-85. All of Africa was claimed by European empires with the exception of two states, the Republic of Liberia and the Ethiopian Empire. Despite this, in 1895, the Kingdom of Italy invaded Ethiopia to further its colonial ambitions in the Horn of Africa. Despite initial Italian success, Ethiopian forces would rout their opponents at the Battle of Adwa in 1896, ending their imperial ambitions in Ethiopia. According to the historian Raymond Jones, Adwa stands out as one of the significant events of the 19th century as "In an age of relentless European expansion, Ethiopia alone had successfully defended its independence."

  • Battle of Adwa 02, As above, this painting of the Battle of Adwa portrays Saint George, Emperor Menelik II, and Empress Taytu, leading Ethiopian troops into battle.
    As above, this painting of the Battle of Adwa portrays Saint George, Emperor Menelik II, and Empress Taytu, leading Ethiopian troops into battle.

In both paintings, we see the amassed forces of Ethiopia and Italy facing off against each other across a battlefield. The Ethiopian forces are also led by the same three figures in both paintings - Emperor Menelik II, Emperess Taytu, and Saint George. Saint George soars above both scenes surrounded by a halo of red, green, and gold, the colours of the Ethiopian flag, granting divine inspiration to the forces of Ethiopia. In one case he even hurls his spears into the massed ranks of the Italian army. 

The Battle of Adwa is commemorated to this day in Ethiopia as a national holiday, with public celebrations held in towns and cities across Ethiopia every year. Each year they celebrate the leadership of Menelik II, Tatyu, and of course Saint George.

Artist Commission: The Studio 2019

We are looking for an exceptional artist with a collaborative practice for our 2019 Studio commission. 

What is the Studio?

The Studio is an exciting, new contemporary arts space at the Horniman, as well as a collaboration between the Horniman, artists and local community partners. The successful artist will join the Collective, the working group who programme the Studio. The chosen artist will be commissioned to create a new artwork as part of an exhibition opening to the public in October 2019.

The Studio will open for the very first time in October 2018. We will commission a new exhibition programme each year inspired by the Horniman’s collections.

The Studio aims to be a hub for exciting events and activities alongside its exhibitions programme, co-curated by artists, community groups and partners working with the Horniman.

The Commission

The Studio in 2019 will focus on Memory. Museums play a vital role in mediating memory, since they often present objects, images and stories from the past. 

Anthropology museums have a particular responsibility in how they present the way the past speaks to the present.

They need to provide a space for contested and alternative forms of memory to flourish. Such memories often challenge and re-orientate the Horniman's curatorial voice, creating both social cohesion and disruption amongst its visitors.

Selection Criteria

We are looking for an artist with great experience of working with people, and involving communities within their work. The artist will also have experience of exhibition-making in their portfolio of works but is not required to have had past experience of working with museums or museum collections.

  • Artists with a practice in social arts or socially-engaged arts, who work together with people and community as part of their practice. We will also consider applications from artist-led organisations where artists share a collaborative practice.
  • Artists who have a track record of creating exhibitions as an outcome of participatory process.
  • Artists who can demonstrate best practice and ability to engage the public in critical enquiry through their work.
  • Artist’s Expression of Interest statement on why the area of enquiry is of interest and interest in the Studio.

Please note: we are not looking for a proposal idea response to the enquiry in your Expression of Interest at this stage of application.

Next steps and application

Download and read the Guidance in the open call document below:

Then submit

1. A brief Expression of Interest statement of no more than two A4 sides that include the following information:

  • Why you are interested in the area of enquiry (see above section Commission Area of Enquiry). No more than 500 words.
  • How you may work collectively or collaboratively with community partners and curators. No more than 700 words.
  • How this opportunity will support your own artistic practice. No more than 500 words.

2. Visual examples of your work. Select three examples that best represent your practice in relation to the criteria outlined in this brief. Please send these as a separate document or signpost us to links of these works online. Please note that if you are emailing us images we are unable receive emails over 9MB.

3. An up-to-date CV (Curriculum Vitae).

To Anila Ladwa, Curator of Studio Programmes (aladwa@horniman.ac.uk) by 5pm on Tuesday, 3 April 2018, with the subject line ‘Studio 2019 Expression of Interest’.

British Wildlife Photography Awards 2017 - Your Winner

You voted for your favourite photo in our British Wildlife Photography of the Year Exhibition and now we can reveal the winner of the public vote.

Sadly our exhibition of the British Wildlife Photography Awards 2017 has now come to an end but we're delighted to say it proved incredibly popular.

Although the gongs had been handed out before our exhibition opened, visitors were given the chance to vote for their own winners and leave their comments.

Clearly, the breadth of talent and photography impressed our visitors as competition was fierce, but we are delighted to say we can now announce the three most popular photographs from our exhibition...

*drumroll*

In third place, Grumpy Mountain Hare by David Walker

  • Grumpy Mountain Hare, 'Grumpy Mountain Hare', Dan Walker
    'Grumpy Mountain Hare', Dan Walker

In second place, Balancing Act by Ian Watson

  • 02.24_PORTRAITS_P_609.6_x_406, 'Balancing Act', Ian Watson
    'Balancing Act', Ian Watson

And your Horniman public vote winner is, Peeking Red Fox Cub by Luke Wilkinson

  • Red Fox Cub, Peeking Red Fox Cub, Luke Wilkinson
    Peeking Red Fox Cub, Luke Wilkinson

Congratulations to Luke, whose shot of this young cub was clearly too cute for our visitors to ignore.

You can read more about wildlife photography in our interviews with the photographers from this exhibition on our blog

About the Art: Mark Thomas

As our blog series highlighting the work of photographers featured in the British Wildlife Photography Awards comes to a close, Mark Thomas tells us why diving with seals can create some unforgettable moments.

Can you tell us the story behind your photo in this exhibition?

The Farne Islands have one of the largest populations of grey seals in the UK with hundreds of pups born each autumn. Diving with these beautiful, gentle creatures is one of the highlights of UK diving. The pups will sometimes approach divers, nibbling on fins, mask straps, and camera gear. Diving with seals can be hit and miss - on occasions the seals keep their distance and watch the strange, cumbersome, bubble-blowing creatures from afar. When you encounter a particularly inquisitive pup, however, the experience is unforgettable and results can be spectacular.

  • OpenWide, 'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas
    'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas

How did you go about getting that shot?

I took this photo on a dive club trip to the Farne Islands in May 2017. The pup was one of a trio who joined us in a shallow bay - the other two kept their distance and can be seen in the background. This individual was especially bold, swimming alongside and mouthing the camera housing - perhaps seeing its reflection in the dome port.

Did you use any particular equipment or software?

I was using a Nikon D3 with a 15mm fisheye lens, in a Sea & Sea underwater housing, with twin strobes. I use Photoshop to process the RAW images.

  • Grey_seal_pup_FarneIslands, Mark Thomas
    , Mark Thomas

What are your favourite scenes, species or motivations behind your photographs?

The bulk of my diving is around UK and Ireland - especially Connemara in the west of Ireland, the west coast of Scotland, and North Wales. I have dived further afield, including around the Galapagos Islands, Revillagigado Islands, and Sulawesi Islands, but the thought of lugging expensive, heavy kit on long-haul flights puts me off.

What are the difficulties of wildlife and nature photography that you face?

Diving in the UK and Ireland is often quite challenging - bad weather, tides, and poor visibility together with cold water add to the difficulties for the underwater photographer. Despite this, it is well worth the effort - with wonderful underwater scenery, wrecks and a rich diversity of colourful and strange marine life. Non-divers are constantly amazed at what can be found a few metres beneath our seas and it is a pleasure to be able to showcase the sights we see underwater. 

  • Corkwing-wrasse_Connemara, Mark Thomas
    , Mark Thomas

How long have you been a photographer and how did you get started?

Photography has been a hobby since my teenage years, when a summer job enabled me to buy my first camera - the Pentax ME Super. Rugby was my passion for over 30 years but once the knees gave out I decided to take up a long-standing ambition to dive and in 1998 I joined the local dive club in Northwich - Hartford SAC. Several talented photographers in the club encouraged my interest in underwater photography and in 2002 I bought a secondhand Nikon F90 film camera and housing before joining the digital revolution a few years later. 

  • Lumpsucker_MenaiStraits, Mark Thomas
    , Mark Thomas

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

Underwater photographers should be comfortable in their diving, with good buoyancy control and a healthy regard for the underwater environment.

What projects are you working on now or have coming up?

In the winter months, diving is usually restricted to freshwater quarries and rivers, and recently Liverpool docks. These dives are useful for keeping skill levels up and practising techniques. Again, people are surprised at what can be found in these underwater environments. Next year there are plans to dive in  Donegal and Connemara in Ireland, the Scottish lochs, and the Farne Islands.

  • mauve_stinger_Connemara, Mark Thomas
    , Mark Thomas

About the Art: Phillip Price

As part of our ongoing blog series on the work of photographers featured in our exhibition of the British Wildlife Photography Awards, Phillip Price tells us about how he hopes his photography work will make the case for a wilder Scotland.

Can you tell us the story behind your photo in this exhibition?

I am a photographer for Scotland: The Big Picture and beavers are one of our key species to highlight the benefits of having a wilder Scotland. As a result I spend a long time with this animal trying to showcase the huge benefits they can have to our ecology and society. People perceive bracken as a nuisance, to find out that beavers eat it, means there is another wonderful reason to make space for beavers in our landscape.

  • Beaver Bracken Eater, 'Beaver Bracken Eater' which appears in the 'Behaviour' category in this year's British Wildlife Photography Awards., Phillip Price
    'Beaver Bracken Eater' which appears in the 'Behaviour' category in this year's British Wildlife Photography Awards., Phillip Price

How did you go about getting that shot?

I was running one of my Beaver photography workshops when I saw an island float down from the far end of the loch. It was luminous green and was moving quicker than the current, eventually, the penny dropped that the floating island was in fact a beaver carrying an enormous mouthful of bracken. The client and I then ran to a safe position at the loch's edge in line with where it was heading, got down to eye level to the water and waited. The Beaver eventually swam past enabling a handful of shots to be taken with this being the best. We were both elated and knackered as beavers swim much quicker than they look capable of.

How long did you have to wait for this shot?

The evening workshop was around four hours and this happened right at the end, but I have been waiting to get a shot like this for Scotland: The Big Picture for two years so a fair amount of time in the field.

Did you use any particular equipment or software?

Canon 6d and 500mm f4 lens, Adobe Lightroom to process raw file

  • Phillip Price 2, Phillip Price
    , Phillip Price

What are your favourite scenes, species, or motivations behind your photographs?

All the motivation now is to see Scotlands' wildlife and ecology improve, it is the only reason I do what I do. Through the project Scotland: The Big Picture we aim to use our images to argue the case for a much wilder and richer use of our landscape. To do away with unhealthy mono-cultures and towards a much richer and diverse spread of species and habitats. As a result, my favourite locations and animals are linked to this ideal, sea eagles soaring over a great coastal oak forest and Otters swimming below the limbs of an ancient temperate rainforest. I tend to run all my workshops in these mind-blowing locations and hope to help create more.

  • Phillip Price 6, Phillip Price
    , Phillip Price

What are the difficulties of wildlife and nature photography that you face?

The huge damage caused to and disregard of the natural world by our decision makers and some businesses, this is by far the biggest challenge to taking great nature shots in the UK.

What would you like people to think about when they see your work?

How exciting and amazing the natural world is and how much fun it can be and hence we need more of it.

How long have you been a photographer and how did you get started?

12 years ago. I started in a studio photographing people then quickly moved into wildlife 11 years ago, which is when I started my guiding and photography workshop business Loch Visions.

  • Phillip Price 5, Phillip Price
    , Phillip Price

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

Local is the key. Start with a project of spiders in your garden or squirrels at the park. Understand your subject, spend time and you will reap the rewards.

What projects are you working on now or have coming up?

Sea Eagles for Scotland: The Big Picture is my main freelance job at the moment. My brief is to showcase the huge benefits these animals are bringing to rural communities and also show the solutions to some of the perceived difficulties.
I am also in the middle of setting up a wildlife photography 'park' idea for all my workshops, set in temperate rainforest on the west coast of Scotland which is very exciting

  • Phillip Price 3, Phillip Price
    , Phillip Price

About the Art: Lucien Harris

We spoke to Lucien Harris as part of our blog series looking at the work of photographers featured in our British Wildlife Photography Awards exhibition. 

Can you tell us the story behind your photo in this exhibition?

I was walking through a field in Cornwall and I spotted a dead tree. I noticed there were tiny boreholes all over it and wondered what had made them. After a while, I noticed a tiny wasp land and crawl inside. Luckily, I had my camera with me and I thought I'd wait for it to re-emerge so I could get a clear photo of its face. After a while it did and it just sat looking at me for just enough time to get the shot.

  • Wasp you looking at, 'Wasp You Looking At?' which appears in the 'Hidden Britain' category of this year's British Wildlife Photography Awards, Lucien Harris
    'Wasp You Looking At?' which appears in the 'Hidden Britain' category of this year's British Wildlife Photography Awards, Lucien Harris

How did you go about getting that shot?

I didn’t have a tripod so I used twin flashes with diffusers I made in order to light up the scene.

How long did you have to wait for this shot?

I waited around 20 minutes.

Did you use any particular equipment or software?

I used a 105mm macro lens with a 1.4 teleconverter and two twin flashes with homemade light diffusers.

What are your favourite scenes, species, or motivations behind your photographs?

I love capturing the unseen as there are so many minibeasts that not many people get the chance to see.

What are the difficulties of wildlife and nature photography that you face?

Timing and weather, especially the wind. A slight breeze can turn a good shot into a blurry mess very quickly.

What would you like people to think about when they see your work?

About the diversity of British wildlife and how we can keep it all safe for future generations.

How long have you been a photographer and how did you get started?

I've been a photographer for 10 years. I started off shooting photos of skateboarding but when I went travelling I noticed all the amazing wildlife and really wanted to capture it for memories when I got home.

What would you advise someone wanting to start taking photos of wildlife or nature in their local environment?

It doesn’t matter about equipment. Just be patient and concentrate on the composure of the photograph

What projects are you working on now or have coming up?

I'm working on a calendar of British bugs which involves local illustrators as well.

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